Frank Lloyd’s blog

Art, architecture and the people that I know.

Posts Tagged ‘Cindy Kolodziejski

Closing a gallery

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CVS059_A copyThis week, the Frank Lloyd Gallery announced the closing of the public exhibition program at Bergamot Station. As of February 14, the gallery will close its doors, and move to a private space in Pasadena. The current show, of Peter Voulkos and Craig Kauffman, will be the last. After a long and successful program of over 190 exhibitions, the founder and director, Frank Lloyd, sat down to talk with Kelly Boyd and answer a few questions:

Q.: Why would you want to leave the gallery business?

A.: Well, after nineteen years of exhibitions, publications, and sales, I am finally moving on. I consider it more of a transition. I have to leave behind this accomplishment, and forge ahead with another job, as the full-time representative of an artist’s estate. I also have very personal reasons for the move, since I need to be close to my 91-year-old mother.

Q.: But what about your artists? What will happen to them?

A.: When I started the gallery, I had a specific mission of presenting ceramic artwork in a fine art context. The gallery functioned on three levels: as a commercial venue for individual artists, as an educational resource for the community of Southern California. I wanted to preserve a legacy of ceramics in Los Angeles. Finally, the gallery served as a forum for dialogue among artists, collectors and critics. I think it succeeded on all those goals.

Later, as the gallery expanded, I showed artists from other countries, FJL053_C copyincluding England, Mexico, France, Holland and especially Japan. Then, I further expanded the program to include contemporary painters and sculptors, because I thought they all came out of the same time period in L.A., the innovative post-war period. In many ways, ceramics, along with assemblage, led the way back then. Voulkos, Mason and Price were examples of fearless leadership and grew out of a common bond.

Q.: But the artists, what will happen to them? You didn’t answer my question.

A.: Oh, you’re right! I’m pleased to say that, for several reasons, ceramics has regained its rightful spot in the mainstream. Just today I had the pleasure of reading a review in the Boston Globe about an exhibition of 200 years of American ceramics at the Museum of Fine Arts, Boston. Featured were Cheryl Ann Thomas and Adrian Saxe. Also, an artist that I represented for 16 years, John Mason, has now regained his position in the art world, with shows like the Getty’s Pacific Standard Time, the recent Whitney Biennial, and his representation by David Kordansky.

Bell_Installation_2006 copyI’m proud of showing Larry Bell since 2006, and now he’s with an international powerhouse gallery, White Cube. Even a less well-known ceramic artist from Japan, Satoru Hoshino, is having a show with Dominique Levy. Others that I’ve shown, like Betty Woodman and Ken Price, both had retrospective exhibits at the Metropolitan. Back in 2003, Dave Hickey for Artforum named Ron Nagle’s show at my gallery one of the top shows in the world. Now, he’s been in the Venice Bienniale and had a survey at the San Diego Museum of Contemporary Art. Adrian Saxe continues to win awards and recognition from critics and organizations.

Q.: Is that because of what you did? Do you take credit for that?

A.: No, I think the artists should get all the credit, I’ve always thought that. But the art world is increasingly aware of these artists, now, and there is a feeling of some vindication. I get some satisfaction out of seeing these artists, who I showed and believed in, get the change in visibility. I think it’s due to several factors, actually. I just felt it was going to happen, twenty years ago when I started the gallery. The exhibition program was all about the place of these artists and that history.

Q.: What exactly are the factors you’re referring to?

A.: First is the obvious trend: Young artists have been using the ceramic medium, and they have no real material hierarchy. That’s a major factor. Younger artists will use anything; they are, quite fortunately, not bound to the old prejudices against clay. Critics have been champions of this use by young artists as well as the use by recognized artists. And curators have recognized the value of the work—look at the tremendous reception for the retrospective of Ken Price, for instance. The curators at major museums are making a big difference in the public’s perception.

Q.: What other examples?

A.: Well, the gallery showed the ceramic work of a major woman FLB008 copysculptor, Lynda Benglis. We had two quite visible and successful shows of Betty Woodman’s work, well in advance of the retrospective at the Met. We’ve shown a significant number of women, including the early group like Vivika Heino, Laura Andreson and Beatrice Wood, then more contemporary artists like Cindy Kolodziejski, Jennifer Lee, Marilyn Levine, Betty Woodman, and Elizabeth Fritsch, as well as sculptors like Lynda. Cheryl Ann Thomas is another example. We didn’t just show the men!

Q.: What part of the gallery are you most proud of?

Sensual_Mechanical_cover copy4A.: Oh, that’s easy: the publications. I’ve taken that job seriously, working with writers and a legendary graphic designer. In many ways, I was lucky to work with a superb graphic designer, the late Joe Molloy, and he mentored me through the process of publishing. I still have a huge stash of our publications, in which we published the writing of Kristine McKenna, Hunter Drohojowska-Philp, and the art historian Frances Colpitt.

I’d also have to say that every day in my gallery was enhanced by the architecture, designed by Fred Fisher. It’s a sad thing to leave this space, so perfectly designed.

Q.: So, that’s a regret. What was your biggest disappointment?

A.: Lack of attendance. We work our butts off, and then the attendance is poor.

Q.: Were there shows that drew in the audience?FJS028 copy

A.: Yes, and it’s a great memory. The big crowd pleasers were clearly deserving: Adrian Saxe’s shows—any of them! And then, we had people return again with their family, just to see the stunning and heartfelt works of French sculptor Georges Jeanclos. The first show of Peter Voulkos in 1999, that had people lined up just to get in. All were extremely gratifying to present. But lately, the attention has shifted and we are working on other projects.

Q.: Will you be busy? Is there enough work in your new job to keep you busy? Or are you retiring?

A.: This is a common question. The truth is, with an artist of this significance, Craig Kauffman, there is more than enough research, conservation, and publication to keep a full staff busy for a decade. The representatives of artist’s estates, and many foundations, are dedicated to the job of preserving and protecting the legacy and work of an artist. We’ll have plenty to do.

Q.: Won’t you miss the gallery business?

DSC_0646 copyA.: I’ll miss the people. I have a number of passionate colleagues. That’s something I learned: many art dealers are passionate and committed individuals. We are fortunate to have them. I must say that there should be more recognition for the patrons and the dealers. I started by coming from the artists’ side—and now I’ve learned more about the collectors and the dealers. Art world news is often about hot young artists, the big money that is spent, and the connections to celebrity, all of it coming in a steady stream on new portal sites, traditional news media, and social media. But the thing that sustains it all is the hard work and passion of the artists, dealers, and patrons. I’d hate to see an art world without art galleries.

Q.: How would you sum up the last 19 years?

A.: In five words or less? A lot of hard work. But seriously, when I started, I wanted to make a statement: a gallery with a sense of history, that presents itself as a strong and relevant component of the contemporary art world.  Although it was originally media-specific and became known as a specialty gallery, everything we exhibited had a relationship to painting and sculpture.  We presented ceramics as a vital part of the regional and national scene and we also proposed links between historical precedents and contemporary ceramics. That was the reason for the expanded program, and it succeeded in many ways. I think the last show is a good way to finish the statement, and I’ll continue to try to set the record straight.

Cindy Kolodziejski at LA-Art Platform

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This past weekend we participated in the second annual LA-Art Platform art fair, held at the Santa Monica Airport’s Barker Hangar. To fill our cozy booth, we brought along works by Larry Bell, Craig Kauffman, and Cindy Kolodziejski. Cindy’s installation, a re-worked version of her Portraits of Sorts and Curiosities, attracted a lot of attention from the press and fair attendees.

For the fair, Cindy produced 19 new pieces, which she integrated with works from 2011 to create the new installation. She and her husband then personally hung, salon-style, the 74 individual works, creating a stunning ensemble piece. Mounted in a variety of antique frames, some ornately carved or gilded, these small-scale “portraits” fuse two-dimensional imagery with three-dimensional objects that Cindy found, modified, or created. The works address themes as diverse as her materials, and demonstrate her distinctive mix of anatomical, botanical, figurative, and text-based imagery. Framing the curiously eclectic pieces in the style of treasured mementos created an unusual – but still playful – tension that visitors really responded to.

Cindy was generous enough to attend the fair all three days it was open, answering the many questions of the public. Because her integration of found and fabricated objects is so seamless, it can be difficult to distinguish between the two in her finished works. It was a pleasure to hear Cindy explain her process to excited fair-goers, who enjoyed their chance to hear from the artist directly.

Written by Frank Lloyd

October 3, 2012 at 10:07 pm

Painting the Fantastic

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Pairings are sometimes fortunate–a lucky draw at the poker table, the unexpected blind date that clicks. Yet, the success of tennis partners at a doubles match is the result of very timely and thoughtful matchmaking.  So, when curators pair up artists for exhibits, we hope there has been some thought, too. I work at this, and it’s hardly random. So, here are my thoughts about the simultaneous shows of Kurt Weiser and Cindy Kolodziejski. It’s our next show.

Both artists use contemporary ceramic forms as a support for figurative painting. Both artists are taking something we know (a globe in the case of Weiser, a bedpan in the case of Kolodziejski), and altering it to fit their purpose. While Cindy Kolodziejski continues to explore the fertile territory of human sensuality, Kurt Weiser pushes into a surreal and fantastic world on his odd-shaped kolodziejski_blue-body-tentaclesglobes.

Cindy Kolodziejski continues to make vessels by recombining and manipulating antique forms. She once took commonplace vessels and altered them, from coffee pots, to laboratory glassware, to antique urinals.  Now she’s taken that another step, and altered the bedpan, leaving a flat space in the back so that we see couples engaged in sex.

Cindy’s last works were clearly referential to Marcel Duchamp, who famously turned a urinal upside down and submitted it with the name of R. Mutt in Fountain, 1917. Cindy just starts there and then adds layers of imagery and metaphor. In addition to the provocative use of a container for bodily fluids, the artist entices the viewer by adding the tentacles of an octopus. The interiors and exteriors of the vessels are painted glimpses of couples engaged in sexual activity. Juxtaposing octopus with coitus, Kolodziejski sets up an unusual tension. There are mixed references to the sea throughout–including octopus tentacles and bubbles. Delving into the sexual psyche, the works have a mysterious brew of exquisitely rendered images.

Kurt Weiser has expanded his worldview onto globes. Bronze stands hold the oddly curved, almost pear-shaped orbs. He builds all of the elements for the works, and casts the porcelain as well as the bronze. The bending and flowing imagery has been described by Edward Lebow: “Weiser’s dog-eat-dog world is awash in odd sexual and scientific tensions between wanting and having, desire and controlling, seeing and seizing.” Weiser’s own statement is modest:

“The ideas and subjects of these paintings on the pots are for the most part just a collection of my own history of fantasy and view of reality. They are built the same way we dream: Around a central idea, a cast of characters and environments just seem to show up to complete the picture.”

From my viewpoint, both of these artists are figurative, both are dealing with the fantastic, and both are making connections by intuitive associations. It’s worth noting that both artists are also painting on ceramic surfaces that are curved and both are challenging themselves with the technical demands of the medium of ceramics. The show opens in three weeks, and I’m hoping to see some other sparks fly from this auspicious beginning.

Written by Frank Lloyd

January 28, 2009 at 2:58 am